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Originally, music choreography works of rhythm are closely tied to music and seek the most comprehensive possible transfer of all musical parameters into spatio-temporal as well as dynamic correspondences. Following the boundary-expanding developments in music and dance from the 1960s onwards, other intermedial forms of reference have become conceivable. Dorothea Weise breaks these down exemplarily and presents a system (to be questioned critically and thought through further).
The transmission of musical processes via corresponding movement sequences can be seen as the foundation of Dalcroze Eurhythmics. Accordingly, the sensibility for rhythm and its inherent interplay of tension and relaxation in space and time is significant for the embodied visualisation of music. For creating wider aesthetic experiences and confrontation with the rhythmical structures of music and other artistic expressions—such as visual arts and literature—it can be helpful to take a look at other concepts of rhythm. Recent theories about rhythm from the music theorists Steffen A. Schmidt and Christopher Hasty, as well as the philosophical thoughts about speech from Ludwig Wittgenstein, described as «Saying and Showing», open up additional structures that may enrich the process of artistic creation and performance in eurhythmics.
Choreomusical work opens a world of images and signs beyond language. The expressiveness of what is heard and seen merges with the tacit-knowing-view of the viewer and the listener.
Meaningful resonances and processes of understanding develop along the structure of the work and within the individual construct of implicit and explicit knowledge of the audience. In this process, perception plays a major role. Aside from the obvious processing of acoustic and
visual stimuli, this paper will look at the role of proprioception, especially the kinaesthetic sense, with regard to its role as intermediary and creator in the process of perception.
Jumping over one's own shadow and expanding boundaries are frequent demands in the field of music and movement through the special methodological possibilities of eurhythmics. This is true for the learners as well as for the teachers. With a view to the concept of perception of constructivism, it is first clarified why perceptions are always individual and bound to subjective experiences. Then the ‘Gegen-Stand’ comes into play as a surface of friction and a basis for an active and reflective engagement that is capable of producing new results.
Jenseits von Sprache eröffnet musikchoreografische Arbeit eine Welt von Bildern und Zeichen, deren je eigener Ausdrucksgehalt im Gehörten und Gesehenen sich mit dem tacit-knowingview der Zuschauenden und Zuhörenden verbindet. Sinnstiftende Resonanzen und Verstehensprozesse entwickeln sich entlang der Strukturbildung des Werks einerseits und innerhalb der individuellen Konstrukte impliziten und expliziten Wissens der Erfassenden andererseits. Die Wahrnehmung spielt dabei eine zentrale Rolle. Neben der naheliegenden Verarbeitung von akustischen und visuellen Sinneseindrücken soll hier die Propriozeption, insbesondere der kinästhetische Sinn, im Hinblick auf ihre Rolle als Mittler und Gestalter im Wahrnehmungsvollzug betrachtet werden.